ally the master teacher reaches down below the surface of
form and design to the vital significance of the composition, and the
disciple feels the glow and power of the revelation.

"There is no gainsaying the fact that this age is superficial, and the
great office of art is to cultivate that idealism which will uplift and
inspire. In an important sense the teacher must be a preacher of
righteousness. He knows that 'beautiful things are fashioned from clay,
but it has first to pass through the fire,' and only those who can
endure that scorching can hope to achieve success.

QUESTION OF PERSONALITY

"If asked to what extent a player's personality enters into the
performance, my answer would be: Only in so far as the performance
remains true to the composer's intention. So long as personality
illumines the picture and adds charm, interest, and effectiveness to it,
it is to be applauded; but when it obstructs the view and calls
attention to itself it should not be tolerated. It is not art; it is
vanity.

"Yes, I teach both high finger action and pressure touch, once the
principle of arm weight is thoroughly established, although I use high
finger action only to develop finger independence and precision, and for
passages where sharp delineation is required. I believe in freedom of
body, arm and wrist, a firm, solid arched hand and set fingers. That
freedom is best which insures such control of the various playing
members as to enable the player to produce at will any effect of power,
velocity or delicacy desired; thereby placing the entire mechanical
apparatus under complete subjection to the mind, which dominates the
performance. In other words, I am neither an anarchist who wants no
government, namely unrestrained devitalization, nor a socialist, whose
cry is for all government--that is, restriction and rigidity. In piano
playing, as in all else, 'Virtue is the happy mean between two vices.'"

X

KATHARINE GOODSON

AN ARTIST AT HOME

When one has frequently listened to a favorite pianist in the concert
room, and has studied impersonally, so to speak, the effects of touch,
tone and interpretation produced during a recital, it is a satisfaction
and delight to come into personal touch with the artist in the inner
circle of the home; to be able to speak face to face with one who has
charmed thousands from the platform, and to discuss freely the points
which impress one when listening to a public performanc